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THE FLOWER ART 
OF JAPAN 



BY THE SAME AUTHOR 

JAPANESE 

FLOWER ARRANGEMENT 

APPLIED TO WESTERN NEEDS 

WITH EIGHTY-EIGHT ILLUSTRATIONS 

NEW YORK: JOHN LANE COMPANY 
LONDON: JOHN LANE, THE BODLEY HEAD 



THE FLOWER ART 
OF JAPAN 



BY 

MARY AVERILL 

(KWASHINSaV KIYOKUxMEI) ^ 
AUTHOR OF 
" JAPANESE FLOWER ARRANGEMENT ' 

"WITHiag ILLUSTRATIONS 




NEW YORK: JOHN LANE COMPANY 

LONDON: JOHN LANE. THE BODLEY HEAD 

MCMXV 



S^ 









COPYRIGHT, 19IS 
BY JOHN LANE, COMPANY 



/ 



THE 'PLIMPTON -PRESS 
NORWOOD -MASS-U'S-A 



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DEC -8 1915 

■ ©CI.A414949 y-^ 



I 



TO ALL WHO LOVE FLOWERS 
SILENT EXPONENTS OF THE BEAUTIFUL 



INTRODUCTION 

SINCE the friendly greeting of '* Japan- 
ese Flower Arrangement'* I feel justi- 
fied in supplementing and completing 
the subject. 

In the first treatment of an art so little 
known, one hardly dares venture beyond the 
rudiments. Now, however, being assured 
that there are those as interested as myself, 
I shall endeavor to carry them farther in 
this delightful study, only wishing that it 
were possible to create a stronger desire on the 
part of my readers to apply these Japanese 
ideas practically. For gradually we discover 
by the constant study of our flower arranging 
that we are beautifying all that touches 
our lives. 

The difficult problem of efimination becomes 
simphfied and we find our possessions in the 
way of household belongings placing them- 

[7] 



INTRODUCTION 

selves more attractively as the final result of 
closer application to this art. 

With each return to Japan, I have longed 
to become a convert to one school of flower 
arrangement in particular. Still the deeper 
I probe into the numerous schools I find it 
utterly impossible to advocate any one school 
exclusively. There is good and valuable in- 
formation to be found in them all. The 
various schools of flower arrangement are like 
the different creeds of the Christian rehgion: 
agreeing in the essentials and only disagreeing 
in the non-essentials; the points of difference 
creating the possibihty to form new schools. 
On occasions I have found myself narrowing 
down to the research of one school, when 
suddenly I have had my attention cafled to 
some principle or suggestion from another 
school, so practical and valuable in enhancing 
the beauty of the arranging of cut flowers, 
that in spite of the assurance of the many mas- 
ters at whose feet it has been my privilege 
to sit, that their particular school contains 
all the virtues, I cannot honestly agree with 
them. I have narrowed down after many 

[8] 



INTRODUCTION 

years of study on each school, to a very small 
number of schools, but, should I attempt 
to settle upon one only I would defeat my 
purpose and pleasure of bringing to the people 
of my own land the best and most helpful 
suggestions in this Japanese Flower Art. 

All the schools can be divided under two 
heads: those producing wonderful decorative 
effects, and those which exhibit natural taste. 

The two schools which follow nature most 
closely are Ikenobu and Ko-Shin-Ryu. It 
is to these two schools I owe my greatest 
inspiration. Both of these schools look upon 
nature as the most helpful guide in forming 
their rules and producing their most pleas- 
ing results. Ikenobu has enjoyed, and I 
feel deservingly, unbroken popularity from 
700 A.D. to the present time. 

Whereas Koshin Ryu has lost in favor, 
there being only one Master of that school 
now in Kyoto, while there are forty teachers 
in the Ikenobu school. Although this Koshin 
Ryu Master is remarkably skilful, he has few 
followers, Ikenobu being the most flourishing 
school of the present day in both Tokio and 

[p] 



INTRODUCTION 

Kyoto. Koshin Ryu is no longer taught 
in the Ginkaku-ji where it originated, yet 
Ikenobu still is being taught at the Rokakudo. 

Having studied Ko-Shin-Ryu longer than 
any other school, I have always felt a pride 
in knowing it originated in the Ginkaku-ji so 
loved by Yoshimasa, Japan's most famous 
patron of art. I regret keenly that instruction 
has been discontinued in this most interesting 
temple. 

Yoshimasa built Ginkaku-ji as a place of 
retirement after abdicating the throne, ac- 
companied there by his two favorites, Soami 
and Shuko, and by this famous trio Flower 
Arrangement and the Tea Ceremony were 
raised to the rank of fine arts. It was my 
great privilege to visit this temple last summer 
with the Ko-Shin-Ryu Master before men- 
tioned, and sit with him inside the enclosure 
which holds Yoshimasa's image, while he 
made a very beautiful flower arrangement, 
which was left as an off"ering in front of this 
simple wooden figure. 

Exhibitions of Flower Arrangement are held 
frequently, much as the exhibitions of paint- 

[lo] 



INTRODUCTION 

ings are given in this country. On these 
occasions all schools are represented. In my 
last visit to Japan I found that each school 
had developed a new school, known as Mori- 
bana, a modern departure from true Japanese 
principles and an attempt to follow European 
and American styles, which is anything but 
pleasing. Any Japanese now taking flower 
lessons learns with the Japanese methods the 
foreign style, the result being more careless 
and less beautiful effects in his Japanese ar- 
rangements and nothing worth while in 
foreign style. This, of course, is due to the 
progress of Western civihzation, as the people 
of Japan are at present adjusting their lives, 
manners, and customs to those of Western 
peoples. Yet the fact remains now, as 
centuries ago, that no other nation so 
genuinely loves flowers. 

What I saw only a few months ago in 
Kyoto proved this to be true. 

Walking one morning, I met a Japanese 
pufling a cart heavily laden. I saw him look 
intently at a sluggish stream by the roadside. 
On a most unattractive pile of refuse was 



INTRODUCTION 

lodged a spray of flowers. His cart was loaded 
in such a manner that he could not merely 
drop the shafts, but was obliged to brace 
them in a cleft in some rocks on the other 
side of the road. He then took a long 
stick and fished out the flowers, but, as he 
reached over to take them in his hand, the 
petals afl fluttered back into the stream. 
He simply laughed and tossed the twig 
after the flowers. 

This man was the lowest type and accus- 
tomed to the hardest labor, yet even to him 
the beauty of flowers appealed. 

Is it strange, therefore, that we look to the 
Japanese nation for a perfect arrangement of 
the flowers they so truly appreciate? 




[12] 



CONTENTS 



PAGE 

Introduction _ 

I Choice of Flowers in 

II Rules in Rhyme 2^ 



Forming Mental Line Pictures 37 



III 

IV Practical Suggestions 4-7 

V One-flower Arrangements eg 

VI Short-stem Flowers gy 

VII Hanging and Hooked Arrangements ... 71 

VIII Boat Arrangements 83 

IX New and Old Forms of Flower Holders . . 105 

X Arrangements in Shallow Vases .... 109 

XI Importance of Branches 129 

XII Proper Use of Foliage 141 

XIII Proper Placing of Flowers 147 

XIV Flower Placing in Japan 1^7 

XV Combining Different Varieties of Flowers . 167 

XVI Flowers in Baskets 181 

XVII Flower Preservatives 193 

XVIII Proper Use of Vases 107 

XIX Flower Ceremony 201 

XX Symbolism in Flower Arranging 209 



C'?] 



LIST OF ILLUSTRATIONS 



Ceremonial Arrangement Frontispiece 

PAGE 

Arrangement Made from Left-over Flowers 21 

Summer Poem 29 

Autumn Poem 31 

Winter Poem 33 

Diagram i 38 

Three-spray Peony Arrangement 39 

Diagram 2 40 

Three-spray Camellia Arrangement 41 

Diagram 3 42 

Arrangement with Unusually Curved Branch .... 43 

Diagram of Nine Lines 46 

Diagram 4 48 

Grasses and Oak Leaves 49 

Diagram 5 50 

Five Branches of Magnolia 51 

Diagram 6 52 

Poppies 53 

Diagram 7 54 

Small Peonies §$ 

One-flower Arrangement 58 

One-flower Arrangement of One Iris 61 

Memory Arrangement 63 

Memory Arrangement Made with One Camellia .... 65 

Early Spring Flowers 69 

Gift Flowers Hung High 73 

Reeds and Chrysanthemums in Hooked Vase .... 77 

Wistaria in Hooked Vase 79 

A Rebellious Branch Brought into Balance 81 

Line Pictures of Ships Home-bound, Anchored, and Out- 
ward-bound 87 

Line Pictures of Ships Stopping, with Cargo, and Becalmed 89 

Line Pictures of Ships, Swift-Sailing, Sailing, and Coasting 91 

Star Viewing Boat 93 

Anchored Boat with Ashirai in Shovel Used for Bailing - . 95 

Home Bound Ship 97 

Outward Bound Ship 99 

Vase Representing Junk Sail and the Branches for Masts . loi 



Z'sl 



LIST OF ILLUSTRATIONS 

Sitting Boat 103 

Diagram of Iris and Stones 112 

Iris and Stones 113 

Diagram of Lotus Arrangement 114 

Lotus Arrangement 115 

Suggestion for Grouping Lilies 117 

Maple in Shallow Vase 119 

Water Diving Plum 121 

Willow with Ashirai 123 

A Variety of Pine Growing only near Water 125 

Omoto and Stones 127 

Branch of Old Cherry with New Shoots 133 

Wind-swept Branch 135 

Plum Branch 137 

Dead Tree and Passion Vine 139 

Offering for Shinto Temple . ■ 145 

Hanging and Standard Arrangements 149 

Standing and Water-growing Groups 151 

Relative Heights of Hanging and Water-growing Arrange- 
ments 153 

Vine and Water-growing Arrangements 155 

Tokonoma with Shelves and Ornaments 159 

Quaintly Shaped Flower Stands 161 

Screen-shaped Frames 163 

Tokonoina with Hanging Vase and Bon-Seki 165 

Plum, Pine, and Bamboo 169 

A Spring Combination of Pine and Narcissus . . . . 171 

Pine and Chrysanthemums 173 

Five Varieties of Flowers 175 

Several Autumn Flowers in One Group 177 

Maple, Autumn Grass, and Chrysanthemums . . . . 179 

Basket without Handle 183 

Hanging Basket 185 

Basket Placed on Dai 187 

Basket Improved by Use of Small Dai 189 

Basket Unusually Turned 191 

Tokonoma with Empty Vase Ready for Flower Ceremony . 203 

Tools Removed from Tray and Kakimono Changed . . 207 

Sho-Chiku-Bai 211 

Symbolical Arrangement 213 



[16] 



THE FLOWER ART 
OF JAPAN 



THE FLOWER ART OF 
JAPAN 

CHAPTER ONE 
CHOICE OF FLOWERS 

THE choosing of flowers to be 
arranged is as important as the 
manner in which you are to group 
them. When it is possible to select from 
one's own garden, reahzing where the flow- 
ers are to be placed before gathering, the 
grouping in a vase afterwards will be very- 
rapid and satisfactory. The novice in this 
Japanese system will, I think, be amazed 
to find how frequently the hues which were 
described in "Japanese Flower Arrange- 
ment" as Heaven, Man, and Earth are 
found to be natural in trees and flowers, 
so that no bending or changing of line will 
be necessary. 



THE FLOWER ART OF JAPAN 

The more trained in line the eye be- 
comes, the quicker is material selected and 
put into place with just a Httle balancing 
and cutting off conflicting or defective parts. 
This eye-training in hne is most important 
and it is according to the degree to which 
this faculty is developed that we owe the 
result in any arrangement. 

Line, in flower arranging, as in afl other 
branches of Japanese art, has reached the 
highest development. What can be sug- 
gested by a few powerful hnes, all those 
famihar with Chinese and Japanese art 
thoroughly appreciate. 

If possible study the lines of the com- 
plete growing plant before attempting to 
arrange any part of it, never forgetting 
that nature is your best guide and master. 
' If it is the branch of a tree to be used, 
have the leaves very small, just unfolding, 
and if a flower, in the tightest bud, just 
reveahng the color which the flower is to 
be. Trees and flowers arranged before they 
have reached fuH development will last 

[20] 



n 



t 







Arrangement Made from Lejt-over Flowers 



CHOICE OF FLOWERS 

for days and the unfolding of leaves and 
flowers at home can be enjoyed as genuinely 
as the growing plant or tree from which 
they were taken. 

Be sure to cut the flowers long enough 
to allow for bending which naturally 
shortens the stems more than at first is 
realized. Try to utilize the shorter flowers 
or twigs that were cut off" from your orig- 
inal arrangement. These can be used in 
a vase of smaller proportion where long 
stems will not be necessary. 

The Japanese delight in these after- 
results, which they call memory arrange- 
ments or reflections. 

When gathering flowers to work with, 
consider where they are to be placed, if 
high or low, the color of the background, 
and when possible, the shape and color 
of the vase. 

Remember that you can manage with 
a very few flowers, only one or a bud, but 
you must have an abundance of fohage to 
make a natural and satisfactory result. 



THE FLOWER ART OF JAPAN 

Try to form a complete composition in 
your mind before attempting to make any 
arrangement. What is meant by this will 
be explained more clearly by the line 
pictures in a later chapter. 




[24] 



CHAPTER TWO 
RULES IN RHYME 

MOST of the fundamental ideas in 
Flower Arrangement have been ex- 
pressed in verse. The first flower 
composition made by Ikenobu, the priest, 
who started the school now bearing his 
name, was formed from azaleas and maple, 
which after gathering are put together in 
such a manner that the scenery of Kamo- 
no-dan Kyoto was represented. From this 
arrangement he evolved nineteen principles, 
which are the origin of the present Ikenobu 
School, never more than nineteen flowers 
being used in that style. About this period 
a poem was written: 

lye no uchi ni 
Miyako no nishiki 
Kaki masete 
Hana mo, momiji mo 
Hitotsu nizo, miru. 

[35] 



THE FLOWER ART OF JAPAN 

By a well thought-out arrangement of 
flowers or trees it is possible to bring into 
a small space in a room all the charm of 
some exquisite bit of natural scenery. 
These poems, difficult to translate, convey 
a clearer impression when left in literal 
prose. The poem just quoted carries in 
a few words the whole substance of the art 
of flower arranging. Namely, that by a 
good arrangement of a few weH-chosen 
flowers, a large and beautiful place may be 
suggested. 

Another poem gives the three main 
principles and what they symbolize. This 
poem is always committed to memory by 
the students of flower arranging: 

Sasu kame no 
Hana no suga tamo 
Onozu kara 
Amatsu chiba to no 
Kokoro yori nam. 

The poem states: Give your flowers only 
natural bends. It likens the central prin- 

[26] 



RULES IN RHYME 

ciple of Heaven or heart centre, to the 
heart or spirit of man. This part being 
his governing centre creates his thought 
actions and forms his principles. So hke- 
wise the central spray in a flower ar- 
ranging shows by its lines the natural 
characteristics of the flower or plant used, 
and controls the shapes of all the other 
elements of the group. 

Then follow four poems to the different 
seasons, and it will be remembered that 
the season of the year has a great influence 
over the lines and quantity of flowers used. 

Spring Poem 

Toki wa nam 
Matsu no mido ti mo 
Haru kure ha 
Ima bitoshi wo no 
ho masare keri 

Even the pine, an evergreen, which is 
supposed to be the same all the year 
through, becomes more energetic and a 

C^7] 



THE FLOWER ART OF JAPAN 

superior color in the spring than at any 
other season. So must spring flower ar- 
rangements show great energy of line and 
brilliancy of color. 

Summer Poem 

Natsu yama no 
Shigeri masareba 
Kogakurete 
Atutomo mienu 
Okanobe no kusa. 

The beautiful moss on the rocks is entirely 
obscured by the dense summer foliage of 
the trees upon the mountain. 

From this has been worked out the sys- 
tem of summer arrangements. 

Involved to us it may appear, but to 
the Japanese it is full of suggestiveness. 
It conveys the idea that aH summer ar- 
rangements should be full and spreading, 
like the trees upon the mountains cutting 
from view all the smaller beauties of rocks 
and moss. 

C2S] 



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Summer Poem 




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Autumn Poem 




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Winter Poem 



RULES IN RHYME 

Autumn Poem 

Tokiiva nam, 
Aoba no Yama mo 
Aki kureba 
Kotobazo kaeru 
Samushi kari keru. 

At the end of summer all the mountains 
with their wealth of greens and beauty sigh 
quietly and alone for the passing season. 
Therefore the autumn arrangements 
should express lonehness and be simple 
and straight in line. 

Winter Poem 

Haruka nam 
Ikoma no Yama mo 
Arawarete 
Kozueno fuji ni 
Kawaru Kono Kara. 

Mt. Ikoma begins to appear as the sign 
of winter, and takes the place of the beauty 
of the dying season. 



THE FLOWER ART OF JAPAN 

As the leaves have fallen, it is now 
possible to see the lovely form of Mt. 
Ikoma, which is as beautiful in its way as 
the lost glory of the autumn. This gives 
the key to winter arrangements. In these 
groups the flowers must be arranged with 
wide spaces between their branches, so that 
whatever is back of them may be seen 
through the Hnes of the group: as 
mountains are revealed in winter through 
branches of dead trees. 




[56] 



CHAPTER THREE 
FORMING MENTAL LINE PICTURES 

IT will be found far easier to make an 
effective arrangement of flowers if you 
first see a composition and then work 
it out, as the following line diagrams will 
illustrate. Diagram Number One shows 
how this may be carried out. Although 
there are three sprays of peonies, the 
composition is expressed by only two strong 
lines. 

The third line or Earth spray is formed 
by one fully opened flower and a bud, but 
is too indefinite to be depicted. Short 
sprays with confused fines are left entirely 
to the imagination as they do not in any 
way aff'ect the general outfine of the 
composition. 

The next three-fine diagram shows the 
composition of three magnofia sprays. 

C57] 



K 




Diagram i 




\ 



Tbree-spray Peony Arrangement 




Diagram 2 




Three-spray Camellia Arrangement 



♦v5^ 




Diagram 5 




^ii^ 



Arrangement with unusually Curved Branch 



THE FLOWER ART OF JAPAN 

Here each element of the group is 
strongly defined, as each principle has long 

and clear outlines. 

The third arrangement has been evolved 
around the unusual form of the branch of 
flowers used for the Man element, or 
second longest spray appearing at the left 
side. This is an interesting arrangement 
in that it expresses the Japanese aptitude 
for using the uncommon form whenever 
it appears. It takes considerable experience 
to work these freak-forms of nature into 
well balanced groups, so that this particular 
illustration should be found very helpful. 

As Hne is the most important factor in 
the Japanese Flower Art, it will be found 
that the line pictures without the con- 
fusion of flowers and foHage are very 
helpful, and excellent practise for the actual 
working out of any flower composition. 



L44I 




L4Sl 



Heaven 



Earth 




Diagram of Nine Lines 



CHAPTER FOUR 
PRACTICAL SUGGESTIONS 

IN explaining the first principles of the 
flower art of Japan, using only three 
or five sprays of flowers, it was easy 
to demonstrate with an illustration of a 
complete arrangement. 

In the more advanced work that would 
be impossible, and I have endeavored by 
the aid of the line pictures in the previous 
chapters, and now, in taking each flower 
of the group separately to make clear the 
putting together of a complicated arrange- 
ment. It is with the hope that afl who are 
truly interested may be able to make with- 
out difficulty an arrangement of any num- 
ber or variety of flowers by the aid of 
these suggestions. On the opposite page is a 
nine line diagram which may be used for any 
variety of flowers in standard vases, as the 
three and five fine were used before. 

C47] 




Diagram 4. This Arrangement is put together according to the way it is 

numbered 




Grasses and Oak Leaves 



2. 




Diagram 5. Put together as numbered 




Five Branches of Magnolia 




er Line 



Diagram 6. Put together as numbered 




_ (_./_-_.__ Water Line 



Diagram 7. Put together as Numbered 




Small Peonies 



THE FLOWER ART OF JAPAN 

In making similar arrangements to any 
of these described, it will be seen by fol- 
lowing the numbers that in every instance 
the Heaven, or highest flower, takes a cen- 
tral position. That the diff'erent Man ele- 
ments are put into place first, next the 
Heaven, and last those sprays or flowers 
forming the Earth or lowest branches in the 
group. 

Do as much of the necessary bending 
required before putting your flowers into 
the support. Should more changing of Hne 
be needed after the flowers are in the vase, 
hold the stems tightly together at the 
base with one hand, while with the other 
hand you rectify afl mistakes. This pre- 
vents spoihng your parent stem or base 
line, here all branches or stems must unite 
and appear as one. 

When possible, let your flowers stand 
in deep water for several hours before 
using them. Always have your kubari or 
support firmly placed in the vase before 
you commence to work. 

Ls61 



PRACTICAL SUGGESTIONS 

After the simple rules already given, 
all that is necessary to the acquiring of 
perfect success in the most elaborate 
arrangements is practise. 




LS7l 







One-flower Arrangement 



CHAPTER FIVE 
ONE-FLOWER ARRANGEMENTS 

THE one-flower arrangements, or 
"fchirin ike," are made in two 
ways. 
Either by starting with the idea of 
enhancing the exceptional beauty of a single 
flower by arranging it alone, or owing to 
a lack of material, having perhaps only 
one flower, a bud, or a few leaves left from 
an elaborate decoration. If the latter is 
the case, it must in some way suggest the 
fuller arrangement, forming what is known 
as a reflection or memory composition. In 
such groups late blooming flowers called 
Zanka are used. A single bud is even 
better than a full blown flower, and leaves 
alone may be used. 

Any variety of flowers are suitable in 
an ordinary one-flower arrangement. 

LS9 1 



THE FLOWER ART OF JAPAN 

In Japan, flowers arranged in this man- 
ner are often placed on the lower shelf of 
a stand, as the illustrations show. Such 
arrangements are generally standard, but 
occasionally one flower is placed in a hang- 
ing vase. The rules for the arrangements 
just described are not as rigid as in the 
fufler groups. Frequently it is not even 
possible to suggest the three simple prin- 
ciples of Heaven, Man, and Earth. Perfect 
balance by bringing the top of the longest 
spray directly over its base, and a desire to 
make the most of the beauty of the flower, 
is aU that is required. 









\t 



[60] 



fll 





One-flower Arrangement of one Iris 




Memory Arrangement 




Memory Arrangement Made with one Camellia 



CHAPTER SIX 
SHORT-STEM FLOWERS 

SHORT-STEM flowers not being as 
decorative as long-stem ones are 
seldom used. 

With the early spring varieties no at- 
tempt is made to bring them into the 
groups so common with other flowers. 

They are not cut from the plant, but 
are taken up root and afl with whatever 
grass or weeds are growing near to them, 
and placed with the earth in which they 
grew into low bowls. 

The principal reason we see so few 
such arrangements in Japanese homes is 
owing to the fact that this method of 
treatment consumes Httle time or thought. 
In the East it is considered a real privilege 
to devote any amount of time not only 
to the arranging of flowers but to any 

C67] 



SHORT-STEM FLOWERS 

pastime which puts them in close touch 
with the beautiful in either art or nature. 
Japanese taste has always been stimulated 
by an earnest observation of the beauties 
of Nature; the Japanese watch with sensi- 
tive perception her constant changes of 
mood, until each detail of her handiwork 
becomes an imprint on his mind and readily 
transferred to any work he puts his hand to. 
It is the adherence to the rules 
which govern Nature that are so prominent 
throughout this art, that attract and hold 
you through an untiring research. 




[68] 




Early Spring Flowers 



CHAPTER SEVEN 

HANGING AND HOOKED 
ARRANGEMENTS 

FOR want of space in previous writing 
on this subject, it was impossible 
to describe the real charm and prac- 
ticability of hanging arrangements, so I 
am glad of the opportunity now offered 
to show how well this style of arranging 
flowers is adapted to western interiors. 

Hung out of the danger of being dis- 
turbed, we feel reconciled to devoting more 
time to a proper placing of each flower. 
An unobstructed background which is in- 
dispensable to bring out the complete 
beauty of any flowers however arranged, 
is more readily found on a wall, by a win- 
dow, or at the side of a mantel than when 
placed on a table with ornaments. Vines 
may be kept growing in such vases when 
hooked in the good hght of a window. 



THE FLOWER ART OF JAPAN 

In the following cuts are given the line 
pictures for these arrangements. 





When bung at the left When bung at the right 

Although the hanging vases are gen- 
erally used for vines, nearly all varieties 
of flowers may be used in these containers. 
Trees of all kinds are used in this way. 
As a tree grows tall and above all other 
vegetation, it may be hung, which places it 
in a higher position than when standing. 

Baskets with handles, which are always 
available, will be found very beautiful 
flower holders, even when the handle alone 
is used as shown by the cut on page 75; a 
vine of any kind may be twined about the 
handle. Bittersweet or morning glories are 
exquisite in this way. 

[7a] 




Gift Flowers Hung High 



HANGING AND HOOKED ARRANGEMENTS 

As this form of flower holders came into 
use in Japan with the idea that flowers 
presented by an esteemed friend should not 




Vine about handle of 
basket 




Arrangement of Morning 
Glories confined to ban- 
die of basket 



be placed where they could be looked down 
upon, they were raised and hung, this 
accounts for sometimes seeing flowers which 
would be naturally placed low or in stand- 
ing receptacles, hung. The iflustration of 
chrysanthemums in an ordinary basket, 

L7S1 



THE FLOWER ART OF JAPAN 

suspended by the handle, is a lovely ex- 
ample of an arrangement of gift flowers. 
Vines which are too weak to arrange 
in definite form and which would hang in 



Wftter L 




Put together as numbered 



confused masses, should have a frame made 
of some slender twigs without foliage, which 
are bent or take the prescribed forms of 
Heaven, Man, and Earth. Morning glories, 

C76] 




Reeds and Chrysanthemums in Hooked Vase 



THE FLOWER ART OF JAPAN 

woodbine, etc., are always found clinging 
to something. 




Water Line 



Put together as numbered 

Thinking that by taking these hanging 
arrangements apart and then putting them 
together, as with the standard groups, it 
will make clearer how to accomplish what 
is here illustrated, the two following 
diagrams are given. 

The reeds and chrysanthemums in the 
hooked vase are put in place according to 
the numbers in the diagram. 

In making an arrangement of wistaria 
similar to the one illustrated, it will be seen 

L78I 




Wistaria in Hooked Vase 



THE FLOWER ART OF JAPAN 

that two sprays alone form the three prin- 
cipals; the spray marked 2 and 3 answers 
for both Man and Earth. 

By looking at the illustration of a 
hooked gourd shaped vase, in which camel- 
Kas are placed, you will notice that the 
line of the long curved branch forming the 
Heaven is natural. The placing of such a 
branch in a hanging vase of irregular form 
makes it at once harmonious and attract- 
ive. It is by the use of such unusual 
forms that the Japanese bring the refresh- 
ment of variety into their floral decorations. 
Always keeping to the regular and 
symmetrical forms does not reproduce 
natural eff'ects. 




[So] 




A Rebellious Branch Brought into Balance 



CHAPTER EIGHT 
BOAT ARRANGEMENTS 

ALTHOUGH the boat arrangements 
are usually included with hanging 
compositions, they really require 
more space to disclose their unusual beauty. 
Not being always hung, but at times used 
as standard arrangements are, they fill a 
position all their own that cannot afford to 
be overlooked. 

The object in giving this variety of 
hanging vases greater recognition is that 
they may be described in a manner that 
can be followed out in a practical way, 
and be as commonly used as standard and 
water-growing arrangements. 

As line pictures always afford clearer 
examples of any composition, they are given 
here. Realizing to the fullest extent that 
there are few in my own land who would 



THE FLOWER ART OF JAPAN 

find time or inclination to arrange their 
flowers so that they represented the many 
phases of conditions attending ships, still I 
know there are those who would devote 
some time at least to bringing added 
charm and variety into our own rather 
circumscribed flower arranging. 

Boats Hung High convey the idea that 
the boat has come from a far-away port. 
In such arrangements the flowers are small, 
to show only as distant sails. 

Boats Hung Low represent a boat which 
has returned from a near-by port. In 
these arrangements the flowers are large 
and conspicuous, as the sails would appear 
on an approaching ship. The diff'erence in 
arrangement in these boats is very shght 
in some instances. 

The quickest way of discerning the 
diff'erent styles is by noticing the position 
of the bow and stern; this is shown very 
plainly in the Ire Fune or homebound 
ship, which has its bow turned to the left, 
while the De Fune or outbound has the 

[84] 



BOAT ARRANGEMENTS 

bow to the right. Closer observation will 
show that the direction of lines differs in 
every position; even the length of the 
chain or cord by which these boats are 
suspended is governed by the style used. 
The streamer, or Nagashi, is of great im- 
portance and is supposed to represent the 
rudder or the long oar with which the 
Japanese propel their boats, and which 
slopes back toward the stern as do these 
long streamers. 

The highest spray, represents the mast 
and the other lines indicate the sails whether 
flat or wind-filled. It must be remem- 
bered, however, that it is the junk and its 
movements that the boat arrangements 
represent. 




LSsl 




Outward-Bound 
Line Pictures oj Ships Home-bound, Anchored, and Outward-bound 




Becalmed 



Line Pictures of Ships Stopping, with Cargo, and Becalmed 



A 



A 





Sailing 



Swift-Sailing 



Coasting 
Line Pictures of Ships Swijt-sailing, Sailing, and Coasting 







Star Viewing Boat 




Home Bound Ship 




Outward Bound Ship 







Vase Representing the Junk Sail and the Branches for Masts 




Sitting Boat 



CHAPTER NINE 

NEW AND OLD FORMS OF FLOWER 
HOLDERS 

HAVING had unusual opportunities 
for collecting flower holders, and 
considerable practise in using them, 
there are several which were not before de- 
scribed that I should like to advocate. 

There is one in particular when no 
sticks are to be had large enough to make 
the usual forked kubari, that will be found 
very useful. This can be made from the 
ends of the stems of whatever flowers are 
being used. It is made as follows: Spht 
the stem of the flower directly in half for 
at least five inches, cut from some flower 
not to be used several stems a trifle wider 
than the mouth of the vase, into the slits 
already made insert these shorter pieces 
of stem horizontafly and place in the vase 
as cut shows. In some instances two or 

Zios2 



THE FLOWER ART OF JAPAN 



three flowers may be placed over one 
horizontal stem. 






Split Stem 



Split Stem with 
stick inserted 



Shows how flower and 
support are placed 
together in Vase 



There is an endless variety of forms 
which can be utilized for flower holders in 
flat bowls, as has been shown by the 
numerous new shapes which have appeared 
during the last few years. The frogs, 
crabs, and even fish do not appeal so 
strongly to the true nature lover as the 
holders which look hke the rocks or stones 
that would naturally be found in river beds, 

Cio6] 



FORMS OF FLOWER HOLDERS 



and the forms of which are so varied and 
beautiful. 







Here is an ingenious device made from a 
section of bamboo fastened to a board; 
the board is held down by two stones, 




one on either end, and the stones alone 
appear above the water, hiding the holder. 
Then the Httle iron holders for one flower, 
or branches, which are merely hung over 
the edge of the neck of a vase. 

C ^07] 



THE FLOWER ART OF JAPAN 



These are made in charming natural forms, 
as well as the simple rings. They come in 





many sizes so that they can be fitted to all 
styles of vases, are quickly adjusted, and 
invaluable in working out exquisite results. 



[zoS] 




CHAPTER TEN 

ARRANGEMENTS IN SHALLOW 
VASES 

AS all those who are interested in 
arranging flowers have discovered 
the charm of placing them in shal- 
low bowls, I feel confident that more sug- 
gestions from the Japanese will be valued. 
The first example in this style is shown 
by the group of iris. Each flower is drawn 
separately and numbered so that the ar- 
rangement can be easily made by simply 
placing the flowers in position as they are 
numbered. Any variety of flower placed 
in low vases may be treated as these iris 
have been. Numbers i, 2, 3, 5, and 6 
belong to the Man group, while 7, 8, and 
9 belong to Earth and number 4 belongs 
to Heaven. The addition of stones at the 
roots is always attractive. 

C log ] 



THE FLOWER ART OF JAPAN 

The second illustration in this chapter, 
of lotus, requires no further explanation, 
but will be a guide in making similar 
arrangements. 

The Japanese use trees also in low vases 
as the illustrations show, especially such 
trees as grow near the water, and maples, 
the color of which makes such enchanting 
reflections. 

In old books will be seen an illustration 
of a plum tree where one branch dips into 
the water of the vase and out again. This 
may become of greater interest when the 
legend of its origin is understood, for, as 
a rule, plums are not arranged in low 
vases. 

So Ho, the founder of the Enshiu School, 
going on a hunting expedition, saw a large 
plum tree, one branch of which bent into 
the river below, the extreme end rising 
upward again, covered with blossoms. 
Being struck with the beauty of the eff'ect, 
he at once applied the suggestion given 
by nature to an arrangement of plum 

[710] 



ARRANGEMENTS IN SHALLOW VASES 

branches in a shallow water vessel in his 
own home. This arrangement is always 
known as the Water Diving Plum. The 
legend is given merely to show how many 
of the arrangements seeming unnatural to 
us have been evolved from natural forms 
in some such way as just described. 




[///] 




Diagram of Iris and Stones put together as Numbered 




Iris and Stones 




Lotus Arrangement. The Leaf is Held in Place by a Separate Holder 




Suggestion Jor Grouping Lilies, Both Beautiful and Natural 



i^^^'^^^^^-.^^^^^^^^a 



if ^ 
aTff 




-1^ 




Maple in Shallow Yase 




Water Diving Plum 




Willow with Ashirai 




A Variety of Pine Growing only near Water 




Omoto and Stones 



CHAPTER ELEVEN 
IMPORTANCE OF BRANCHES 

IN '* Japanese Flower Arrangement** it 
has already been stated that branches 
are used as flowers in this art and are 
more highly valued. 

Just a glance at the pictorial art of 
Japan will prove how powerful a place 
branches fill in all they depict. It is 
not strange therefore that importance is 
given to them in flower arranging. A 
branch from some variety of tree may be 
had at any season, and after the natural 
blooming time of the flowers is past, 
branches from the pine and fir trees are 
used almost to the exclusion of all else. 

The rules for arranging all branches are 

the same, and as before explained, proper 

balance made or marred these arrangements. 

It win be seen that branches of large 

[ I2g2 



THE FLOWER ART OF JAPAN 

diameter are highly esteemed, as they form 
a more perfect representation of tree trunks. 
As large branches of pine, maple, and all 
the fruit trees are very desirable yet diffi- 
cult to cut and troublesome to bring into 
the correct balance without spoiling the 
leaves or flowers growing upon them, the 
use of dead wood previously gathered will 
overcome such difficulties. Use a large 
piece of pine, cherry, plum, etc., of a good 
shape for each principal of the group you 
desire to make. 

These branches may be moss-covered 
to indicate age, and of irregular shape. 
Also branches broken at the ends, not in 
a clean-cut, even way, but as though twisted 
off by a high wind. Put small flowering 
twigs about these old branches as though 
they were new shoots springing out of a 
dead tree, for example a large gnarled plum 
with delicate new blossoms shooting forth 
apparently from the old tree. Many such 
arrangements will be seen. Vines are very 
lovely used with such old wood. 

C ^50] 



IMPORTANCE OF BRANCHES 

The Japanese keep on hand beautifully 
shaped branches, which may be collected 
when convenient and placed in a kubari 
with a few tendrils of some brilliant vine 
clinging to them. There are great op- 
portunities for individual taste in such 
arrangements which can be made rarely 
beautiful. 

If only we of the West could be taught 
the charm of our -own tree branches for 
decoration, a wealth of material would 
always be at hand. Especially in the early 
spring and autumn when so many trees 
flaunt such wonderful variety in color. 




L'S'l 




Branch of old Cherry with New Shoots Arranged as Interpreted in this Chapter 




Wind-swept Branch 




Plum Branch 







H 



Dead Tree and Passion Vine 



CHAPTER TWELVE 
PROPER USE OF FOLIAGE 

AS the foliage in an arrangement is 
considered of more importance than 
the flowers, no surprise will be ex- 
pressed at the care and thought given to 
their placing and turning. 

The Japanese in preparing for a guest 
are very particular as to the turn of the 
leaves. If leaves alone are 
to be used, the dark side 
is turned toward the 
guest, while the light side 
faces the host. The fol- 
lowing cut of a camelha 
shows plainly the strong 
contrast in color between the front and back 
of leaves. A distinction is also made between 
leaves of a solid color and those which are 
striped, spotted, or variegated. Preference 
is given to fresh green of a solid color; the 
variegated leaves are not used on ceremonial 

C 141 ] 




THE FLOWER ART OF JAPAN 

occasions. White leaves are sought by poets, 
as to them they represent clouds, old age, etc. 

DYING OR LIVING IN FLOWERS OR LEAVES 

If leaves or petals turn back or change 
their color, or anything out of the natural 
happens, they are known as dead. As in 
this state they are frequently beautiful, 

they are sometimes 
used, but never in im- 
portant parts of the 
group. All natural 
conditions of leaves 
are called living and put 
in prominent places. 
Crown Leaves or leaves 
growing above the 
flower, as illustrated in the cut, which has 
two crown leaves, such are found oftener in 
water-growing flowers, as with the lotus and 
some Hhes the flower rests on the surface of 
the water and the leaf rises tafl above it. If 
leaves grow too long never cut with scissors; 
break or tear with the hand. This makes it 
appear Hke natural damage of the wind. 
11422 




PROPER USE OF FOLIAGE 

There are three varieties of bamboo, 
the leaves of which are called Fish Tail (a), 
Gold Fish Tail (6), and Flying Goose (c). 

Leaves are also designated as dew or 
rain holding. 




In the spray following the leaves at the 
top are dew holders, while the large turned- 
over leaf at the left shows it has been rained 
on. The smaller group by the droop of nearly 
all its leaves indicates a hard rain. 

C 143 ] 



THE FLOWER ART OF JAPAN 

It is probably due to the fact 
that the Shintos do not use flowers but 





only leaves in their shrines that so much 
attention has been given to foHage. 




C ^44 1 






t 




4 



n 

•A 






Offering Jor Shinto Temple. Composed oj Leaves and Peculiarly Cut Paper 



CHAPTER THIRTEEN 
PROPER PLACING OF FLOWERS 

THERE are so many different styles 
in which to arrange flowers, and such 
a variety of vases, that possibly the 
most helpful suggestion is that given by 
the old flower books, which advise the use 
of personal taste in adapting the style of 
the arrangement to the vase and the place 
where it is to be used. 

There are, however, a few other theories 
in regard to proper placing that should not 
be overlooked. 

What is known as Nagashi or a drooping 
style, is suitable for flowers placed on high 
stands and mantel shelves and in rooms 
with low ceihngs. 

The flowers in a low-ceihnged room 
should not be upright and too high. One 

C ^47 2 



THE FLOWER ART OF JAPAN 

trial of drooping arrangements in old-fash- 
ioned rooms will prove how attractive they 
are. 

Tall and upright groups should be 
placed on the eye level, bulbous and 
aquatic flowers below the eye level, while 
vines may be hung and at any height. 




[148] 




Hanging and Standard Arrangements 




Standing and Water-growing Groups 




Relative Heights of Hanging and Water-growing Arrangements 




Vine and Water-growing Arrangements 



CHAPTER FOURTEEN 
FLOWER PLACING IN JAPAN 

TO those unfamiliar with the customs 
of Japan, the way in which flowers 
are placed in their homes may be 
of interest. 

There are prescribed places in which 
the flowers may be arranged, and only in 
these spots; nothing haphazard is per- 
missible. Built into every room is a place 
for flowers, and they are seldom put else- 
where. OccasionaHy hooked or hanging vases 
are hung where individual taste dictates, 
but generaHy flowers are placed on the floor 
or hung on one side of the tokonoma. 

Four arrangements in a room would be 
the maximum. In the houses of the well- 
to-do there is frequently a room set apart 
for flowers only. Here the waHs are hung 
with beautiful kakimono or scroH pictures 
and beneath these are placed flower stands 
and vases. This room is kept constantly 

C ^57] 



THE FLOWER ART OF JAPAN 

filled with flowers. Each day the wilted 
ones are replaced by fresh arrangements. 
Here, also, the flower tools, stands, vases, 
and everything to be used in arranging 
the flowers are kept. 

The flower stands are as beautiful and 
varied in form as the vases; their lines all 
so wefl thought out that they enhance the 
beauty of whatever they hold. One of the 
iflustrations shows how they vary in height, 
so that a long traihng spray may be raised 
into a natural position. 

Everything in connection with this 
Flower Art emphasizes the important place 
flowers occupy in the every-day hfe of the 
Japanese. 






LisSl 





Tokonoma with Shelves and Ornaments 




mi 



nBS^ 



'4 



4 

4-5 



4- 



Quainf/y Shaped Flower Stands 




^^^^ 



Screen-shaped Frames 




Tokonoma with Hanging Vase and Bon-Seki 



CHAPTER FIFTEEN 

COMBINING DIFFERENT VARIETIES 
OF FLOWERS 

IT is frequently asked, do the Japanese 
never use more than one variety of 
flower at a time? They combine their 
flowers as often as do other nations, and in 
fact, for such seasons as New Year, also on 
aH congratulatory occasions, they always use 
two or more varieties in combination. 

The Sho Chiku Bai, which is the pine 
bamboo and plum together, is a favorite 
New Year's decoration, and the illustration 
will show one of these arrangements. Wild 
flowers, both of the spring and autumn 
varieties, are placed together, in one vase, 
arranged as they grow, field flowers and 
grasses grouped together. 

Branches of trees with spring flowers 
at their roots, such as is illustrated by the 
pine and narcissus arrangement, are very 



THE FLOWER ART OF JAPAN 

beautiful. While in the autumn, the use 
of chrysanthemums and other late blooming 
flowers, with tree branches, produce most 
charming results. In combining of colors, 
it is a well-known fact that the East is 
more daring than the West. However, you 
will notice by the examples here given that 
the colors of the flowers used are very 
harmonious. 

You can see how the arrangement of 
brilHant maple leaves and yellow chrysan- 
themums are subdued and brought together 
by the autumn grasses which have turned to 
soft browns and yellows. This is truly a 
wonderful group representing all the glory 
of autumn but prevented from being start- 
ling by the use of the grasses. 




Ci6S] 




Plum, Pine, and Bamboo 




A Spring Combination oj Pine and Narcissus 




Pine and Chrysanthemums 



>.. V I 




Five Varieties oj Flowers. Note the way the 
Morning Glory is twined about the Reed 




Several Autumn Flowers in One Group 




Maple, Autumn Grass, and Chrysanthemums 



CHAPTER SIXTEEN 
FLOWERS IN BASKETS 

IT is often the case that whatever is 
simple and easily procured is overlooked 
and seldom used. This apparently has 
been the fate of the many exquisitely beau- 
tiful forms of baskets made for flowers. 
There is scarcely a conceivable form which 
has not been made in this material. 

The Japanese have done more than 
their part, not only in the constant use in 
their own land, but they have also ex- 
ported them in large quantities here. No 
other vases but those of bronze can equal 
them for color. 

Although in most cases the flowers are 
not allowed to touch the handle of the 
basket because by that it is carried, and 
handhng would mar their freshness, yet 
as previously described, in some instances 



THE FLOWER ART OF JAPAN 

vines are twined about the handle alone. 
They come, as the illustrations show, in 
standard, hanging, and are also fitted with 
tin and may be used for water-growing 
plants. They came to Japan from China 
and are one of the oldest forms of flower 
holders. 

These Chinese makers of these baskets 
sent one to Yoshima through one of his 
retainers, requesting that so unworthy a 
vase should be placed on an unusually 
beautiful stand to enhance the plainness 
of his gift. Yoshima was so charmed by 
its simple elegance, that he ordered it placed 
without stand or tray. This accounts for 
seeing baskets used so frequently without 
the usual stand. 



C/S2] 





Basket ivitbout Handle 




Hanging Basket 




Basket Placed on Dai 



i 



ff 




This Basket Improved by the Use of Small Dai 




Basket Unusually Turned 



CHAPTER SEVENTEEN 
FLOWER PRESERVATIVES 

MUCH is done in Japan to make 
the flowers remain fresh as long 
as possible after they have been 
arranged. After spending many months in 
learning what would best preserve each 
variety of flower, I came to the conclusion 
that most of the formulas given me could 
never be used in my own land, both for 
want of time and material. 

There are, however, a few simple aids 
which were not given before that are easy 
to apply and wifl perceptibly lengthen the 
life of flowers. First are given a few of 
the methods which seem too complicated 
to be employed by the pressed-for-time 
Westerner. 

C 193 ] 



THE FLOWER ART OF JAPAN 

To Preserve Lotus 

This flower is very difficult and must 
be treated immediately after picking, or 
it cannot be preserved. In gathering the 
flowers and leaves they must be cut under- 
neath the surface of the water. While 
arranging, the stems must be held all the 
time in water. When the proper length 
of the stems has been determined, the 
blossoms and leaves are protected by paper 
and the ends of the stems are put in boil- 
ing water until they become white; after 
this they are plunged into cold water where 
they are left until the entire length of 
stems are cold. Next the kosho misu, or 
summer medicine, the formula of which is 
given below, is inserted by a pump into the 
stem of each leaf or flower separately, the 
flowers then being placed in cold water for 
three hours before the arrangement may be 
completed. 

A much simpler way of preserving lotus 
is to cut the stems underneath the water, 
L194I 



FLOWER PRESERVATIVES 

and smear the end of each stem with 
sealing wax before exposing it to the air; 
wrap stems in paper to carry home. Noth- 
ing else is really required. 

Summer Medicine 

Water i sho = i qt, i pt. 
Mog'usa I go = li oz. 

Sansho i shaku = teaspoon 

Boil together until only one quarter of 
liquid remains. After all this trouble, the 
flowers will last for an astonishingly long 
time and the leaves for fully a week. Other 
methods are more elaborate. 

All water-growing plants may be kept 
fresh longer, if a little salt is forced into 
the stems, and then they are stood in warm 
water until used. If the weather is very 
hot, let stand in lukewarm, very weak tea. 

Placing flowers in a weak solution of tea 
will make it possible to keep them for some 
time without being kept in water. 

The most valuable aid in keeping the 



THE FLOWER ART OF JAPAN 

flowering fruit branches fresh, even if in 
full bloom, is by bruising the bark of the 
branches where they will be under water. 
This will make cherry, apple, dogwood, 
etc., last a remarkably long time. 




L196I 



CHAPTER EIGHTEEN 
PROPER USE OF VASES 

THE flower containers of Japan are 
innumerable, and made of almost 
every kind of material. It is gen- 
erally conceded that the Kwabin, a long- 
necked vase, was the most ancient form. 
This vase required an arrangement of 
considerable height, that was difficult to 
balance, and led to the use of the broader, 
lower vases now so common and brought 
into use correspondingly lower compositions 
of flowers. 

Large Mouthed Vases. Vases which 
have a very wide opening. The flowers 
must not touch the edges of the opening 
unless placed high; if on the eye level or 
below, flowers must stand higher than 
opening. 

Square Vases. Flowers must not be 

C 197! 



THE FLOWER ART OF JAPAN 

turned at angles but in graceful curves. 
If square vases are stood on a stand or a 
table it must be a round one. 

Round Vases. Flowers may be turned 
in angles and stood on square stands. 

Vases with Handles. By this is meant 
the small handles which project at the 
sides, known in Japan as ears. Branches 
or flowers must never touch these handles. 

How to Wet Vessels to Represent Dew. 
It is considered very comphmentary when 
expecting a guest to have not only the 
flowers wet, as though covered with dew 
and freshly gathered, but the receptacle 
also. This effect is accomphshed with bam- 
boo and bronze vases by plunging the 
whole vase in cold water, which causes 
beads of water to settle on the outside. 
Porcelain vases are never treated in this 
way. 

In Japan it would not do to use a flower 
vase in the spring which had been used afl 
winter. Vases change with the flowers. 

Spring Vases are of medium size. When 
[zpS] 



PROPER USE OF VASES 

standard vases are used they must be tall 
and slender. Summer vases for water-growing 
things must be as shallow as possible. 

Summer. Standard vases, very wide- 
mouthed and not high. Low vases, very 
wide. 

Autumn. Porcelain receptacles are more 
used, boat-shaped being very popular at 
this season. 

Winter Vases. In winter standard vases 
are used almost entirely. They are very 
tall and straight in shape. 

The ways of caring for the vases are 
too elaborate to describe, but it may be 
useful to know how to prevent bamboo 
vases from splitting. These vases, which 
are so attractive, will never break if a few 
drops of sake or sherry are put in the water, 
or if the water is changed entirely every 
day. They should be dried out thoroughly 
every two weeks, but never by steam heat 
or the sun. 

The form, color, size, and decoration of 
all flower vessels is selected with great 

C ^PP] 



THE FLOWER ART OF JAPAN 

care in reference to the flowers to be used. 
There are certain combinations of vase and 
flowers which have to the Japanese, besides 
artistic value, certain virtues given these 
different combinations by Yoshimasa. For 
example, a vase made from old wood hold- 
ing a twining vine expresses aspiration, 
Choko-tei. Serenity is expressed by a hang- 
ing bronze boat filled with white chrysan- 
themums, which suggests a ship with a full 
cargo in port. 

All these quaint fancies help to bring 
about a perfect harmony of flowers and 
vase which is never lost sight of in Japanese 
floral decoration. 




[ 200 ] 



CHAPTER NINETEEN 
FLOWER CEREMONY 

THERE is a regular ceremony of ar- 
ranging flowers, almost a counter- 
part of the Cha-no-yu or Tea 
Ceremony, not perhaps of general interest, 
but proving the importance given to this 
art. 

This ceremony like that of Cha-no-yu 
is studied to develop the power of con- 
centration. The knowledge of such cere- 
monies puts us in closer sympathy with the 
people of Japan, while it prevents on both 
sides many embarrassing situations. 

First comes the ceremony of viewing 
the flowers, which have been already ar- 
ranged. After entering and greeting your 
host, you can approach only to within a 
certain distance of the tokonoma or re- 
cess where the flowers are placed. The 

I 201 ] 



THE FLOWER ART OF JAPAN - 

proportions of a room are told in mats, 
not by feet as in other lands; a room being 
seven, nine, or eleven mats. So you take 
your seat one mat or about three feet in 
front of the tokonoma and from this position 
make your bow to your host. Then you 
begin a close scrutiny of the flower, looking 
first to discover if the plant's natural growth 
characteristics are well brought out, if each 
principle is strongly developed, if the season 
of year is expressed. Notice if the variety 
of flowers used has been suggested by a 
poem or painting of flower on the kakimono, 
admire the beauty of the vase, its form, 
the material from which it is made and the 
design, also see if flowers and vase are in 
harmony, not only color harmony but also 
line and proportion. After this you are 
able to judge of the abihty of your host. 

Another view of the flowers, accompanied 
by a word or two of praise, and you with- 
draw farther away from the flowers and 
nearer your host. It is not necessary to 
give afl the details of this ceremony, but 

[ 202 ] 





1$: 




Tokonoma with the Empty Vase ready for Flower Ceremony. The 
Character Represents the Guest's Seat 



FLOWER CEREMONY 

as the rules observed in viewing flowers 
are the most important and helpful in 
making an arrangement, I give this portion 
of the ceremony more fully than otherwise 
I should have ventured to. 

After giving much time and attention 
to admiring the flowers arranged by the 
host, the guest is asked to make an ar- 
rangement, but he asks to be excused, plead- 
ing what is called a poor hand, meaning he 
is not skilful. However, after repeated in- 
vitations he volunteers to do the best he 
is capable of, reahzing it would be rude not 
to conform to the desire of his host, even 
in spite of his poor hand. The host then 
acknowledges his kindness by a profound 
bow, and brings forth a flower vase and 
stand which are placed in the tokonomay 
also a beautiful lacquer tray on which are 
the flower tools, a variety of kubari, or 
supports, a kakin or white napkin which 
must always be cut the proper size and 
placed under the tools on the tray. Then 
the ^'te-joro'^ or water pot is placed also 

[-205] 



THE FLOWER ART OF JAPAN 

on a tray, as shown in the illustration. At 
this point more bows are exchanged and 
the guest begins to work. The different 
articles are taken from the tray in regular 
order and in a prescribed way. The kakin 
is folded and unfolded as in the Cha-no-yu, 
the ceremony proceeds slowly and with a 
precision possibly trying at first to the 
nerves of a Westerner, yet a novelty and 
charm remain that make you return after 
such an experience thoroughly refreshed in 
mind. 




1 206 2 




Tools Removed from Tray and Kakimono Changed. The Guest Draws 
Closer on Commencing Arrangement 



CHAPTER TWENTY 

SYMBOLISM IN FLOWER 
ARRANGING 

THE keen enjoyment of symbolical de- 
signs in this Flower Art is shown 
by the wonderful details of such 
decorations. The shapes into which the 
flowers are bent, as well as the forms of 
the vases and flower stands, represent ob- 
jects which have been made famihar to all 
through history, legend, and romance. 

Besides the intense fondness of nature 
constantly referred to, the Japanese also 
possess a love of the humorous and an 
almost restless desire for variety. This fond- 
ness for variety is nowhere more strongly 
shown than in the unsymmetrical balance 
of forms in flower arranging. 

These symbolical groups do not represent 
this art in its simple pure form, and there- 

[-209] 



THE FLOWER ART OF JAPAN 

fore are not so highly valued as those forms 
which take nature as their guide. Through 
a longing to create something new, and a 
remarkable Judgment regarding the fitness 
of things, these symbohcal arrangements 
have been developed. They are frequently 
more grotesque than beautiful and are used 
at large gatherings to promote talk and a 
closer scrutiny than would generally be 
given by masses of people to the simpler 
but more exquisite compositions. 

That all symbolical arrangements are 
not grotesque is shown by the common and 
beautiful composition known as Sho-chiku- 
Bai, a combination of pine, bamboo, and 
plum, which is used at New Year and for 
wedding ceremonies. In Chapter Fifteen 
there is given a beautiful example of this 
combination. Here is an uncommon and 
grotesque arrangement. The pine at the 
top in the bronze bowl is tied with a cord, 
which always signifies a gift or offering; the 
figure forming the standard and holding the 
bowl has a bamboo design on his kimono, 

I 210 '2 




Sho-Chiku-Bai 



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Symbolical Arrangement 



SYMBOLISM IN FLOWER ARRANGING 

while the line of his figure, with extended 
foot, corresponds to the principal lines of a 
flower arrangement. The plum holds the 
highest position. 

These three trees have woven about 
them pretty fables which secure for them 
great favor from both old and young. The 
pine and the bamboo are both popularly 
believed to possess an almost supernatural 
longevity, as well as to hold a beneficial 
influence over mankind. The plum is looked 
upon as sacred. All the idols in the temples 
and private dwellings are decked with 
branches of ume or plum, the symbol and 
herald of spring. 

The contrast between the gnarled age- 
worn trunk and the delicate fresh blossoms 
suggests to the imaginative Japanese hun- 
dreds of allegories, such as the renewal of 
youth in the heart of decay; the victory 
of hope over despair, etc., etc. It is all this 
which endears the Sho-Chiku-Bai to the 
hearts of the people. 

In the illustration of an arrangement of 



THE FLOWER ART OF JAPAN 

pine with an arrow in the center, notice the 
shape of the vase, which is supposed to 
represent a crane, also a symbol of long 
life, and much venerated by the people, 
for in olden times nobody was allowed to 
shoot one of these birds without an order 
from the emperor. The stand beneath the 
vase forms a tortoise which means happiness, 
long life, and also good luck; the inserted 
arrow forms a protection against prey or 
enemy. 

It would be possible to go on indefinitely 
describing these symboHcal arrangements, 
but, as they are merely attractive methods 
of suggesting history and legend only known 
to comparatively few out of Japan, they 
can be of little aid to the student of Flower 
Art in other lands. 



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